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CATALOGUE
OF
PAINTINGS IN OIL
AND PASTEL

BY
JAMES A. McNEILL WHISTLER

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JAMES AB BOT MeN ELLE WHS Pine R

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

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ThE
METROPOLITAN MUSEUM
OR TART

PAINTINGS IN OIL
AND |
FAS TEL

BY,
JAMES An McNELEE
WHISTLER

NEW YORK
MARCH 15 TO MAY 31
MCMX

wen

INTRODUCTION

The present exhibition of paintings by Whistler
aims to give a comprehensive idea of the scope
and development of his work in color. Only
enough pictures have been included to satisfac-
torily fill the Gallery of Temporary Exhibitions,
and in their selection the attempt has been made
to exemplify the painter's accomplishment as
adequately as possible at the various stages of
his career. Owing to the limited space at our
disposal for the exhibition, water-colors have not
been included, as it was feared that, with their
exceedingly delicate and evanescent tone, they
could hardly be seen to advantage in the close
neighborhood of the more dominant oils and
pastels. This 1s the first considerable exhibition
of Whistler's paintings that has been held in New
York, although his etchings and lithographs have
frequently been seen here.

The Museum gratefully acknowledges its obliga-
tion to those who, by their generous cobperation,
have aided in forming this exhibition. These are:
The National Gallery of Art, Washington, D. C.
(Freer Collection); The Brooklyn Institute of
Arts and Sciences; The Carnegie Institute of

Vv

THE METROPOLITAN MUSEUM OF ART

Pittsburgh; Mr. H. H. Benedict; Mr. Richard
A. Canfield; Col. Frank J. Hecker; Mr. John
G. Johnson; Mr. Howard Mansfield; Miss
Rosalind Bernie Philip; Mr. Alfred Atmore
Pope; Mr. Herbert L. Pratt; Mr. Arthur Studd;
Mrs. Samuel Untermyer, and Mr. John H.W bitte-
more. The thanks of the Museum are particu-
larly due to Mr. Charles L. Freer, without whose
continual and sympathetic aid the exhibition
could not have taken place.

The catalogue has been prepared with a view to
making tt not only of service in the gallery but
also an aid to the further study of the life and work —
of Whistler. A chronological biography is given,
the pictures are catalogued chronologically, and
there 1s a short description of each picture with
notes regarding its execution and inclusion in the
Whistler exhibitions listed. His work was shown
from time to time in the Royal Academy, the Salon
and other current exhibitions, but this is noted
only in a few important cases. The sizes are all
sight measurements. Wedmore’s catalogue num-
ber is given when referring to an etching. If a
painting has been reproduced one reference is
entered, preference being given to the illustrations
in the biography by the Pennells.

The authorized “ Life of James McNeill W histler”’
by E. R. and J. Pennell, published in 1908, has
been freely drawn upon in compiling this volume,
as have also the catalogues of the Memorial ex-

VI

INTRODUCTION

hibitions held in London and Paris, and the
“Works of James McNeill Whistler,” by Elisa-
beth Luther Cary. The self portrait sketch of
Whistler, which forms the frontispiece of this
book, is now reproduced for the first time.

This catalogue has been prepared by Florence N.
Levy.

VAL

JAMES ABBOTT McNEILL
7 WHISTLER

CHRONOLOGICAL BIOGRAPHY

1834 July 10 or 11—Birth at Lowell, Mass.
1834 Nov. 9—Baptized James Abbott Whis-
tler, in the Church of St. Anne, Lowell.
1837 Family moved to Stonington, Conn.
1840 Family moved to Springfield, Mass.
1842 His father, Major George Washington
Whistler, went to Russia to superintend the
construction of the railroad from St.. Peters-
burg to Moscow.
1843 Aug. 12—Mrs. Whistler with her family
sailed from Boston to join her husband in St.
Petersburg.
1845 Took drawing lessons at the Imperial
Academy of Sciences, St. Petersburg.
1849 April 7—Death of his father.
1849 July 29—Returned to the United States,
reaching New York Aug. 9, and going at once
to Stonington, Conn.
1851 July 1—Entered the United States Mili-
tary Academy at West Point. Added to his
name his mother’s maiden name, McNeill.

IX

THE METROPOLITAN MUSEUM OF ART

1854 July 16—Discharged from West Point
Academy for deficiency in chemistry.
1854 Nov. 7—Received an appointment in the
drawing division of the United States Coast and
Geodetic Survey at Washington, D. C., at a
salary of $1.50 a day.
1855 Feb.—Resigned his position. The rec-
ords show that he worked six and a half days
in January and five and three-quarters days in
February.
1855 Summer—Arrived in Paris. Entered
Gleyre’s studio.
1859 His painting, At the Piano, rejected at
the Paris Salon.
1859 Went to London to live.
1862 Exhibited for the first time at the Royal
Academy.
1863 Paintings rejected by the Paris Salon,
but hung in the Salon des Refusées.
1863 Took his first house in London and his
mother came to live with him at No. 7 Lindsey
Row, Chelsea.
1863-1866 Japanese influence most strongly
shown in his work.
1866 Went to Valparaiso.
1871 The first exhibition of a “Variation”
and a “Harmony.”
1872 “Symphonies” exhibited for the first
time and an impression of night under the
title “‘ Nocturne.”

X

CHRONOLOGICAL BIOGRAPHY

1872 Arrangement in Gray and Black: Por-

trait of the Artist’s Mother, shown at the

Royal Academy; the last work exhibited there

by Whistler.

1876-7. The Peacock room.

1877 April 30—Private view of the first Gros-

venor Gallery exhibition, which contained the

Falling Rocket.

1878 Nov. 25 and 26—Whistler v. Ruskin

trial.

1878 Dec.—Published Whisiler v. Ruskin: Art

and Art Critics, the first of a series of brown

paper covered pamphlets.

1879 Sept. 18—Auction sale of the contents of

his home, followed by a sale of his paintings at

Sotheby’s on Feb. 12, 1880.

1879 Sept.—Went to Venice; executed many

etchings and pastels.

1880 Nov.—Returned to London.

1881 Autumn—The Pennsylvania Academy

of the Fine Arts exhibited The Portrait of the

Artist’s Mother, and it was seen the following

spring at the exhibition of the Society of Ameri-

can Artists in New York. This was the first

time that Whistler had been represented in

American exhibitions.

1885 Feb. 20—Delivered a lecture at Prince’s

Hall, London, at 10 p.m. This lecture was re-

peated several times and in 1888 he published it

under the title of Mr. Whisiler’s Ten O'Clock.
XI

THE METROPOLITAN MUSEUM OF ART

1888 Aug. 11—Marriage with Beatrix God-
win, widow of E. W. Godwin, the architect for
the White House. She was the daughter of
John Bernie Philip, a sculptor, and was herself
an etcher.

1890 June—The Gentle Art of Making Enemies
was published in London.

1891 The Carlyle purchased by the Glasgow
City Gallery and The Artist’s Mother by the
Luxembourg, Paris.

1892 Went to Paris to live.

1896 May 1o—Death of his wife.

1902 April—Took a house at No. 74 Cheyne
Walk, Chelsea, London, returning after ten
years to the neighborhood where he had spent
thirty years of his life.

1903 July 17—Death of Whistler.

XII

WHISTLER EXHIBITIONS

1874 June 6—Private view at No. 48 Pall

Mall, London, of thirteen paintings and fifty

prints. Whistler’s first “‘one man show.”

1881 Jan. 28—Press view of an exhibition of

fifty-three pastels at the Fine Art Society in

Bond Street, London.

1883 Feb.—Fifty-one etchings and dry-points

exhibited in Bond Street Gallery.

1884 May—Notes — Harmonies — Nocturnes

shown at the Dowdeswell Gallery, London.

1884 Nov.—Twenty-five works sent to the ex-

hibition of the Dublin Sketching Club.

1886 May—A «second series of Notes—Har-

- monies—Nocturnes shown at the Dowdeswell

Gallery.

1889 At the College for Working Women,

Queen Square, London, there was seen the

most representative exhibition of his work since

that of 1874.

1892 March 19—Opening reception at the

Goupil Galleries, Bond Street, London, of an

exhibition of forty-four Nocturnes, Marines
XIII

THE METROPOLITAN MUSEUM OF ART

and Chevalet Pieces, for which Whistler pre-
pared the catalogue.
1895 Dec.—Seventy lithographs exhibited in
London.
1904 Feb.—At the 78th Annual Exhibition of
the Royal Scottish Academy, Glasgow, there
was a memorial group of twenty-two oil paint-
ings and thirty-three pastels and etchings.
1904 Feb. and March—The Copley Sociéty of
Boston held, at Copley Hall, a Memorial Ex-
hibition of the Works of Mr. J. McNeill Whis-
iler. There were one hundred and eighty-
four oil paintings, water colors, pastels and
drawings, two hundred and thirty-five etchings
and dry-points, and eighty lithographs.
1904 April 15 to May 7—The Grolier Club,
New York, held an exhibition of etchings,
consisting of six hundred and twenty-five im-
pressions from three hundred and ninety-six
plates.
1905 Feb. 22 to April 15—Memorial Exhi-
bition of the Works of the Late James McNeill
Whistler, First President of the International
Society of Sculptors, Painters, and Gravers,
in the New Gallery, Regent Street, London.
It was held under the auspices of the Society
and consisted of one hundred and forty-eight
etchings from the Royal Collections; a chrono-
logical collection of three hundred and eighty-
eight etchings; fourteen black and white and
XIV

WHISTLER EXHIBITIONS

colored prints; two hundred and seven litho-
graphs, black and whites and pastels, and one
hundred and forty-two nocturnes, marines and
chevalet pieces.

1905 May—Exhibition at the Palais de l’Ecole
des Beaux-Arts, Paris, consisting of one hundred
and eighty-eight paintings, one hundred and
one lithographs, and one hundred and fifty
etchings.

XV

HONORS

1863—GOLD MEDAL AT THE HAGUE
1863—THIRD CLASS MEDAL, PARIS SALON

1886 To 1888—PRESIDENT OF THE SOCIETY OF
BRITISH ARTISTS

1888—SECOND CLASS MEDAL, MUNICH

1888—HONORARY MEMBER’ BAVARIAN ROYAL
ACADEMY

1889—FIRST CLASS MEDAL, MUNICH
1889—CROSS OF ST. MICHAEL OF BAVARIA

1889—FIRST CLASS MEDAL, BRITISH SECTION,
PARIS EXPOSITION UNIVERSELLE

1889—CHEVALIER OF THE LEGION OF HONOR,
FRANCE

%
1889—GOLD MEDAL, AMSTERDAM

1891—MEMBER OF SOCIETE NATIONALE DES
BEAUX-ARTS, PARIS

1891—OFFICER OF THE LEGION OF HONOR

1893—GOLD MEDAL, COLUMBIAN' EXPOSITION,
CHICAGO

1894—TEMPLE GOLD MEDAL, PENNSYLVANIA
ACADEMY OF THE FINE ARTS,
PHILADELPHIA
1895—-GOLD MEDAL, ANTWERP
XVII

THE METROPOLITAN MUSEUM OF ART

1895—PRIZE OF 2,500 FRANCS OFFERED BY THE
CITY OF MURANO, VENICE INTER-
NATIONAL EXPOSITION

1898, APRIL 23, UNTIL HIS DEATH, PRESIDENT
OF THE INTERNATIONAL SOCIETY OF
SCULPTORS, PAINTERS AND GRAVERS

IQ00—GRAND PRIZE FOR PAINTING AND GRAND
PRIZE FOR ETCHING, AMERICAN SEC-
TION, PARIS EXPOSITION
UNIVERSELLE

190I—GOLD MEDAL, DRESDEN

IQOI—MEMBER ACADEMIE ROYALE DES BEAUX-
ARTS, DRESDEN
1902—GOLD MEDAL OF HONOR, PENNSYLVANIA
ACADEMY OF THE FINE ARTS,
PHILADELPHIA
1903—DEGREE OF LL.D. CONFERRED BY GLAS-
GOW UNIVERSITY

XVIII

Bob BLOG RAP EY

The works marked with an asterisk (*) will be
found in the Museum Library. A card cata-
logue of magazine article on Whistler may also
be consulted there.

BACHER, Otto H. * With Whistler in Venice.
New York, 1908.

BELL, ARTHUR G. AND Nancy. J. McNeill
Whistler and his Work. New York, 1904.
Bett, Nancy E. (Mrs. Arthur Bell). James

McNeill Whistler. London and New York,
1904. (Miniature Series of Painters).

Representative Painters of the XIX
Century. London, 1899. Pp. 49-52.

BENEDITE, LEonce. * L’ceuvre de James Mac-

Neill Whistler reunis a l’occasion de l’exposition
commemorative. Paris, 1905.

Bowpoin, W. G. James McNeill Whistler, the
Man and his Work. London, 1901. New York,
1902.
— James McNeill Whistler. London and
New York, 1904.

XIX

THE METROPOLITAN MUSEUM OF ART
BRINTON, CHRISTIAN. * Modern Artists. Pp.
99-113. New York, 1908.

CAFFIN, CHARLES H. * American Masters of
Painting. Pp. 37-54. New York, 1902.

—— *The Story of American Painting. Pp.
285-303. New York, 1907.

Cary, ELIisABETH LUTHER. * The Works of
James McNeill Whistler. New York, 1907.

CHESTERTON, G. K. Heretics. London, 1905.

CHILD, THEODORE. American Artists at the
Paris Exposition. Pp. 78-97. Art and Crit-
icism, New York, 1892.

—— A Pre-Raphaelite Mansion. Pp. 305-
312. Art and Criticism. New York, 1892.

CopLey Society oF Boston. * Memorial Ex-
hibition of the Works of Mr. J. McNeill Whis-
tler, February, 1904.

Cox, KENyon. * Old Masters and New. Fp.
227-254. New York, 1905.

Dennis, G. R. * Bryan’s Dictionary of Paint-
ers and Engravers. London, 1905.

DureET, THEODORE. * Histoire de J. McN.
Whistler et de son ceuvre. Paris, 1904.

—— *Critique d’avant-garde. Pp. 245-260
Paris, 1885.
KX

BIBLIOGRAPHY

Eppy, ARTHUR JEROME. * Recollections and
Impressions of James A. McNeill Whistler.
London, 1903.

EXPOSITION DES CEUVRES DE JAMES MACNEILL
WHISTLER. Introduction by Léonce Bénédite.
Palais de l’Ecole des Beaux-Arts. Paris. May,
1905.

ForsyTH, WALTER GREENWOOD, AND HARRI-
SON, JOSEPH LERoy, Ep. * Guide to the Study
of James Abbott McNeill Whistler. Albany,
1895. (University of the State of New York.)

GALLATIN, ALBERT E. (A.E.G.) * Whistler:
Notes and Footnotes, and other Memoranda.
New York, 1907.

GOODSPEED, CHARLES E. Whistler’s Art Dicta
and Other Essays. Boston, 1904.

GROLIER CLus, New York. The Etched Work
of Whistler. Compiled by Edward G. Ken-
nedy; introduction by Royal Cortissoz. 1910.

H., C. J. (HOLLINGWorTH ?). * The Peacock
Room. Obach Galleries, London, 1904.

HARTMANN, SADAKICHI. * A History of Ameri-

can Art. Vol. 2; pp. 132-137, 163-173. Bos-
ton, 1902.

HuBBARD, ELsBert. Whistler. East Aurora,
N. Y., 1903. (Little Journeys Series.)
XXI

THE METROPOLITAN MUSEUM OF ART

HuysMaN, J. K. *Certains. (G. Moreau,
Degas, Cheret, Whistler, Rops, etc.) Paris
1880.

INTERNATIONAL SOCIETY OF SCULPTORS,
PAINTERS AND GRAVERS. * Memorial Exhibi-
tion of the Works of the late James McNeill
Whistler, London, February 22d to April 15th,
1905.

IsHAM, SAMUEL. * The History of American
Painting. Pp. 316-340. New York, 1905.
Knoor, TH. J. M. Whistler, Zehnuhr Vor-
lesung. Strassburg, 1904.

*

KOEHLER, SYLVESTER Rosa. * Etching. p.
162. New York, 1885.
MacFatt, HALDANE. Whistler: Butterfly,
Wasp, Wit, Master of the Arts, Enigma. Bos-
ton, 1907.
—— Whistler. Boston, 1906. (Spirit of the
Age Series.)
MANSFIELD, Howarp. *A Descriptive Cata-
logue of the Etchings and Dry-points of James
Abbott McNeill Whistler. Chicago, Caxton
Club, 1909.
Mauctair, C. De Watteau a Whistler. Paris,
1905.
MacCoL_, DoNALD STEWART. * Nineteenth
Century Art; James M’Neill Whistler. Pp.
154-158. Glasgow, 1902.

XXII

BIBLIOGRAPHY

McSpPaADDEN, J. WALKER. * Famous Painters
of America. Pp. 221-271. New York, 1907.

MenpEs, MorTiIMER. * Whistler as I Knew
Him. London, 1904.

Moore, Georce. *Modern Painting. Pp.
1-24 and 256-7. London, 1808.

MUTHER, RICHARD. * History of Modern
Paintings. Vol. 4; pp. 1-44. London, New
York, 1907.

PATTISON, JAMES WILLIAM. * Painters Since
Leonardo. Pp. 202-206. Chicago, 1904.

PENNELL, E. R. AND J. * The Life of James
McNeill Whistler. London, 1908. .
Rosetti, WILLIAM MICHAEL. Fine Art, Chiefly
Contemporary. Vol. 3; pp. 645-664. New
York, 1806.

SINGER, Hans W. * James McNeill Whistler.
Berlin, 1904. London, 1905. (Langham Series).

StupIo. * Whistler Portfolio. London, 1905.
Symons, ARTHUR. *Studies in Seven Arts.
Pp. 121-148. New York, 1906.

THOMAS, RALPH. Catalogue of the etchings
and dry-points of James Abbott Macneil Whis-
tler. London, 1874.

TUCKERMAN, H. T. * Book of Artists. Pp.
485-486. New York, 1867.
XXIII

THE METROPOLITAN MUSEUM OF ART
VicroRIA AND ALBERT Museum. The Etch-
ings of J. McN. Whistler. (Catalogue.) Lon-
don, 1905.

Vose, Georce L. Sketch of the Life and
Works of George W. Whistler, Civil Engineer.
Boston, 1887.

Way, THomas R. *Mr. Whistler’s Litho-
graphs. London, 1896.

Way, R. AND Dennis G. R. *The Art of
James McNeill Whistler; An Appreciation.
London, 1903. |

WEDMoRE, FREDERICK. * Whistler’s Etching:
A Study and a Catalogue. London, 1886.

—— *A Note on the Etchings by Whistler
Exhibited at the Galleries of Obach & Com-
pany, London, 1903.

— Four Masters of Etching (Whistler, Le-
gros, Seymour Haden and Jacquemart). Pp.
28-39. London, 1883-89.

* Whistler and Others (24 essays). Lon-
don and New York, 1906.

WuisTLer, J. A. M. Eden v. Whistler. The
Baronet and the Butterfly: A Valentine with a
Verdict. Paris, 1899.

* The Gentle Art of Making Enemies.
London, 1890. (New edition, 1892, includes:
XXIV

pemnier 3ast ST ES Ma et a SE es Se a er
Se Pind SET nen ee ee
nn nS Ee SITS aa ee

BIBLIOGRAPHY
Mr. Whistler’s Ten O’Clock; Whistler v. Rus-

kin; The Painter-Etcher Papers, and The Noc-
turnes, Marines and Chevalet Pieces.)

Nocturnes, Marines and Chevalet Pieces.
London, 1892.

The Paddon Papers; or The Owl and the
Cabinet. London, 1882.

—— The Piker Papers.
* Mr. Whistler’s Ten O’Clock. London,

1888.

* Whistler v. Ruskin; Art and Art
Critics. The White House, Chelsea, London,
December, 1878.

Whistler Album. (20 photographs).
Paris, 1892.

—— Wilde v. Whistler: being an Acrimonious
Correspondence. London, 1896.

XXV

Pj

i
oe,

CATALOGUE
OF
PAINTINGS IN OIL
AND PASTEL
BY
JAMES. A. McNEILL WHISTLER

1 HARMONY IN GREEN AND
ROSE: THE MUSIC ROOM

LENT BY FRANK J. HECKER

The corner of a room with a mirror at the left
which reflects a lady, who is not seen in the
picture. In front of the window hangs a pair
of curtains, their white ground covered with
red flowers and green leaves. In the back-
ground, near the window, a little girl in white is
seated, reading. On the right stands a young
woman in a black riding habit which she holds
with her gloved right hand. The carpet is
dark red.

The picture was painted in 1860 in the London
home of Sir F. Seymour Haden, the painter-
etcher. The reflection in the mirror is that of
Lady Seymour Haden, Whistler’s step-sister,
with whom he was living at the time; the little
girl is Annie Haden, and the lady in a riding
habit is Miss Boot, a connection of the Hadens
by marriage. The first title of the picture was

I

THE METROPOLITAN MUSEUM OF ART

The Morning Call. There are four etchings of
Annie (W. 2, 15, 24, and 57). The etching of
The Music Room (W. 26) is an entirely different
composition, showing the Haden family in the
same room.

The painting was shown at the Goupil Gallery
Exhibition in 1892 (No. 12), when it was lent
by Mme. Reveillon; it was in the Memorial Ex-
hibitions at Boston (No. 15) and Paris (No. 7).
An illustration appears in Pennell, v. 1, p. Pe
Oil on canvas; H. 372”, W. 29”.

* BLUE ASD SLEV ER? the Bt ue
WAVE—BIARRITZ

LENT BY ALFRED ATMORE POPE

The blue wave breaks over a reef of brown
rocks. Above is a light sky with broken drift-
ing clouds. Signed, Whistler 1862, 0n the rocks
in the foreground, to the left.
Whistler was one of the group who went to
Bonvin’s studio in 1858 to work from the
model under the direction of Courbet and the
master’s influence is seen in this picture.
It was included in the Memorial Exhibitions at
Boston (No. 54), London (No. 29) and Paris
(No.55). In Léonce Bénédite’s plates from the
Paris Memorial Exhibition it was reproduced
as No. XXIXx. .
Oil on canvas; H. 242”, W. 342”.

2

WHISTLER EXHIBITION, NUMBER 3

5 ee ee ON eae
THE WHITE GIRL

LENT BY JOHN H. WHITTEMORE

It is the full length, life size figure of a young
woman, turned slightly to the left. She is
dressed in white and stands on a white fur
rug that lies on a white and blue carpet, in
front of a white curtain. Her eyes are gray and
her dark auburn hair hangs about her face; in
her left hand she holds, loosely, a single white
flower, while pansies, lilacs and other flowers
are scattered on the rug and carpet.

It is signed on the right at the top, Whistler,
1862. The frame was designed by Whistler
and decorated with an imbricated design; the
butterfly signature is on the right-hand side
above the center. On the back of the frame in
the artist’s handwriting: J]. 4. McNeill Whis-
tler, 2 Lindsey Houses, Chelsea, his address from
1866 to 1878.

The model for this was Jo—Joanna Heffernan,
Mrs. Abbot, an Irish woman of little education
but of keen intelligence, who, while sitting to
Whistler, learned much about painting and be-
came well read. She played an important part
- in Whistler’s life during the early London years
and was with him in France in 1861-2, going
to Paris in the winter to give him sittings for
The White Girl, which he painted in a studio

5

THE METROPOLITAN MUSEUM OF ART

in the Boulevard des Batignolles. He also
painted her, although perhaps not that winter,
as La Belle Irlandaise, as Jo, Note Blanche and
as The Little White Girl (No. 6 in this exhibi-
tion). There is also a dry-point of Jo (W. 64)
dated 1861, which shows her with streaming
hair. |

This picture was his first attempt to carry out
the principle afterward set down in his Ten
O’Clock, that “the artist is born to pick and
choose, and group with science, the elements
contained in nature, that the result may be
beautiful.” It was an arrangement of white
against white which was not understood at that
time. The White Girl was sent to the Royal
Academy of 1862 but was rejected. The man-
ager of the Berners Gallery exhibited it at the
opening exhibition in the summer of 1862 and
the Atheneum said that it was “the most prom-
inent picture in the collection, though not the
most perfect. Able as this bizarre production
shows Mr. Whistler to be, it is one of the most
incomplete paintings we have ever met with. A
woman in a quaint morning dress of white, with
her hair about her shoulders, stands alone in a
background of nothing in particular. But for
the rich vigor of the textures, we might con-
ceive this to be some old portrait by Zucchero,
or a pupil of his, practicing in a provincial town.
The face is well done, but it is not that of Mr.

4

WHISTLER EXHIBITION, NUMBER 3

Wilkie Collins’s Woman in White.” This brought
forth what is believed to be the first of Whis-
tler’s long series of letters to the press. He
wrote that he had no intention of illustrating
Mr. Wilkie Collins’s novel, which, it happened,
he had never read, and that his picture repre-
sented merely a girl in white standing in front
of a white curtain.

After its Berners Street success, The White
Girl was chosen by Whistler for the Paris Salon
of 1863, where it was rejected; but it was shown
in the Salon de Refusées, arranged by order of
Napoleon III in the same building as the official
Salon. Zola, in L’CEuvre, says that the crowd
laughed in front of La Dame en Blanc. Des-
noyers thought it the most remarkable picture,
at once simple and fantastic with a beauty so
peculiar that the public did not know whether
to think it beautiful or ugly. Paul Mantz wrote
in the Gazette des Beaux-Arts that it was the
most important picture in the exhibition and
calls the picture a “‘Symphonie du Blanc,” some
years before Whistler adopted that title. The
White Girl was the first of the “Symphonies in
White”; No. II is The Little White Girl lent by
Mr. Arthur H. Studd (No. 6 in this catalogue),
and Symphony in White No. III is the picture
now known as The Two Little White Girls,
which belongs to Mr. Edmund Davis.

The White Girl was shown in the American sec-

5

THE METROPOLITAN MUSEUM OF ART

tion of the Paris International Exposition of
1867; the title Symphony in White No. I: The
White Girl was used for the first time when it
was in the International Exhibition at South
Kensington, London, in 1872; it was lent to
The Metropolitan Museum of Art from July,
1894, to December, 1895; and was shown in the
Portrait Show held at the National Academy
of Design, New York, in 1898. It was in the
Memorial Exhibitions in Boston (No. 71), in
London (No. 37) and in Paris (No. 4). An
illustration appears in Pennell, v. 1, p. 112.

Oil on canvas; H. 844”, W. 424”.

4 THE LANGE LEIZEN—OF
THE SIX MARKS > 262 Bee 2x w
ROSE

LENT BY JOHN G. JOHNSON

'A young woman in Japanese costume is seated
and with her left hand holds on her lap a blue
and white vase of the shape known in Holland
as the “Lange Leizen”’; the “‘ six marks ” refers
to the potter’s mark on the bottom of the vase.
The sleeve of her kimono covers her raised right
hand in which she holds a brush. Her skirt is
black with a delicate design in color; the kimono
has bright flowers on a cream-white ground and
is lined with rose color; a band of rose, edged
with black, finishes the sleeve. A black scarf
6

WHISTLER EXHIBITION, NUMBER 4

is tied around her hair and falls over each
shoulder. There are several blue and white
vases, an Oriental carpet is on the floor, to the
right is a red covered table, and back of her a
chest.

Signed, Whistler 1864, on the green and orange
pendants in the upper right corner. The frame
was designed by Whistler and decorated by him
with Chinese frets and the six marks.

The Lange Leizen, The Gold Screen, The Bal-
cony and the Princesse du Pays de la Porce-
laine are the important pictures with Japanese
motives that were painted between 1862 and
1866 in the studio at No. 7 Lindsey Row, a
modest little second-story back room. The
method was that of his earlier works, the paint
thickly laid on, with the richness he later sacri-
ficed to other and more subtle qualities. The
difference was in his subjects. It was not
Japan, however, that Whistler wanted to paint
—he clothed his English models in Eastern
dress and produced beautiful color and form
with Japanese detail. He was one of the first
to appreciate the beauty of Chinese porcelains
and owned choice pieces.

This picture was in the Royal Academy of 1864,
and in the Goupil Gallery Exhibition of 1892
(No. 5). An illustration appears in Pennel, v.
I, p. 122.

Oil on canvas; H. 352”, W. 234”.

7

(

THE METROPOLITAN MUSEUM OF ART

| 7
x. 5 HARMONY IN PURPLE AND

GOL Bi PES THEE EDEN Sear EN

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

A young woman in Japanese costume is seated
on a brown rug, her head seen in profile to the
right, as she examines a Japanese print held in
her left hand. She wears a purple under
kimono with multicolored flowers and_bor-
dered with a vermilion scarf, and a green obi
is around her waist; her outer kimono is white
with a red flowered design. To the left is a
tea box, some roses, and in a blue and white
vase there are pansies; to the right, Hiroshige
prints are scattered over the floor and beyond
is a folding chair; the background consists of a
folding screen with Japanese houses and figures
painted on a gold ground. Signed, Whistler
1864, at the left on the rug near the box.

It was exhibited at the Royal Academy in
1865; was lent by Cyril Flower to the Goupil
Gallery Exhibition of 1892 (No. 14), and was in
the Paris Memorial Exhibition (No. 8). An
illustration appears in Pennel, v. 11, p. 124.

Oil on panel; H. 194”, W. 26”.

WHISTLER EXHIBITION, NUMBER 6

6 SYMPrRON Y IN WHITE
pif ee LITTLE WHat e Girt

LENT BY ARTHUR STUDD

Standing before a mantel is the three-quarter
length of a young girl in a white dress, the
figure turned three-quarters to the right. The
head, with loosened hair, is seen in profile and
is reflected in the glass. Her right hand hangs
at her side and holds a Japanese fan with
Hiroshige-like decorations; the left arm rests
on the white mantel ledge in front of a red lac-
quered box and a blue and white vase. Pink
and purple azaleas show at the right near the
edge of the canvas.

The picture is signed, Whistler, at the top near
the right. It was dated originally 1864, but
about 1900 Whistler painted out the date,
saying that he “‘did not see the use of those
great figures sprawling there.”

It was painted later than the Golden Screen and
the Lange Leizen, and there was no mas-
querading here in foreign costume. The model
was Jo, who also posed for The White Girl (No.
3 in this exhibition). A change of method
is noticeable, the paint is thinner on the
canvas and there is greater repose in the com-
position. Swinburne saw the picture before it
was sent to the Royal Academy of 1865 and
wrote Before the Mirror: Verses under a Pic-

9

THE METROPOLITAN MUSEUM OF ART

ture, two verses of which were inserted in the
catalogue. .
The painting was lent by Gerald Potter to the

Goupil Gallery exhibition in 1892 (No. 33); it

was at the Venice International Exposition of
1895; in the American section of the Paris
International Exposition of 1900, and at the
Memorial Exhibitions in Boston (No. 28), and
Paris (No. 5). It is illustrated in Pennell, v.
Il, p. 252.

Oil on canvas; H. 29%”, W. 192”.

7 NOCTURNE—BLUE AND GOLD
VALPARAISO

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

In the foreground, stretching out into the water,
is a pier, with many people walking about;
small boats to the right and beyond a fleet of
ships, their lights and masts reflected on the
water. The distant shore is mountainous and
the sky above is light blue. To the extreme
left a shower of sparks falls from a rocket.
This is one of the few pictures which remain of
those painted during Whistler’s trip to Chili,
where he and his brother went in 1866 with the
idea of joining the insurgents. When they
reached Valparaiso the rebellion had ceased.
This picture was lent to the London Memorial
10

WHISTLER EXHIBITION, NUMBER 8

Exhibition (No. 16) by George McCulloch. An
illustration appears in Way, p. 62.
Oil on canvas; H. 294”, W. 192”.

YOM PHONY WN. GaAY .AN-D
E

8 S
GREEN: THE OCEAN

LENT BY RICHARD A. CANFIELD

A broad expanse of water with several vessels
at anchor. To the left the end of a pier against
which waves are breaking; to the right branches
and leaves are silhouetted against the water.
The sky is green-gray and lightest at the hori-
zon.

Butterfly monogram is in a dark cartouche to
the right near the bottom. The frame was de-
signed and decorated‘by Whistler; the butterfly
monogram is repeated on the right hand side of
the frame, a little higher than the signature on
the canvas.

This is the earliest picture in the exhibition
wherein the butterfly monogram appears.
Whistler began to feel that a large signature,
such as he used in his early pictures, was a dis-
cordant note. In the Golden Screen the signa-
ture is interlaced and placed in a decorative
way somewhat after the Japanese fashion.
With the symphonies, nocturnes and large
portraits the butterfly began to be used. It
II

THE METROPOLITAN MUSEUM OF ART

was made from the interlacing of the letters
J. M. W. into a monogram, which gradually
evolved into the butterfly in outline, then
shaded, and finally a stencil-like silhouette.
It was introduced as a note of color, as im-
portant in the picture as anything else. At
times it was put in almost at the first painting
to judge the effect; was scraped out with the
rest, and put in again and again until he secured
the proper effect. The butterfly was used as a
signature on prints and in his correspondence,
on invitations and on catalogues; in The Gentle
Art of Making Enemies it was elaborated in
many ways and a sting was added.

This is one of the pictures painted at Valparaiso;
its first title was The Pacific.
The picture was lent to the Goupil Gallery Ex-

~ hibition in 1892 (No. 15) by Mrs. Peter Taylor;

it was in the Salon the same year and was in
the Memorial Exhibitions at Boston (No. 74)
and Paris (No. 62).

Oil on canvas; H. 31”, W. 382”.

9 NOCTURNE: BLUE AND SILVER
—BOGNOR

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

In the foreground is the beach with a silvery
line of low waves; the silhouettes of two figures
12

WHISTLER EXHIBITION, NUMBER 10

are discerned to the left. Beyond is a calm
deep blue sea with four sail-boats, two of them
with lights; the blue sky is dotted with stars.
Butterfly monogram, in white, is on a rail post
in right-hand lower corner.

This picture was lent by Alfred Chapman to the
Goupil Gallery Exhibition in 1892 (No. 24) and
was in the Memorial Exhibitions at Boston (No.
65) and Paris (No. 68).

Oil on canvas; H. 194”, W. 334”.

io PORTRAIT SKETCH OF MR.
Wits LEK

_ QALENT BY THE NATIONAL GALLERY OF ART
v, (FREER COLLECTION)

ae ' Half length portrait, the figure turned to the
; right and the face in three-quarter view. He _
wears a loose black coat, with low white collar
showing, and a soft black hat under which his
gray lock is seen. Dark background.

The earliest known self-portrait in oil is the one
painted in Paris about 1859, the Whistler with
a Hat (illustrated in Pennell, v. 1, p. 190
and engraved by Guérard),-which was lent by
Samuel P. Avery to the Memorial Exhibitions
in Boston (No. 55) and Paris (No. 1). William
Michael Rosetti in his diary for February 5,
1867, mentions seeing in Whistler’s studio “‘a
clever, vivacious portrait of himself,” believed

13

THE METROPOLITAN MUSEUM OF ART

to be the one that belonged to the late George
McCullough and which appears as the frontis-
piece to Pennell, v. 11.

The portrait sketch in this exhibition belongs
to about this period or a little later and is re-
produced for the first time.

In 1874 Whistler wrote to Fantin-Latour about
studies for a big picture on the plan of that
artist’s Homage a Delacroix. Whistler was to
be the central figure with the White Girl on a
couch, La Japonaise walking about, and Albert
Moore and Fantin to give the black note. One
of the studies, Whistler in his Studio, is illus-
trated in Pennell, v. 1, p. 184. In 1894 he was
painting a portrait of himself in a white jacket
which, according to the Pennells, was changed
into a dark coat after his wife’s death. A full
length in long overcoat was in the Paris Expo-
sition of 1900 under the title of Brown and
Gold; a half-length belonging to George W.
Vanderbilt and was in the Memorial Exhibi-
tions in Boston (No. 1) and Paris (No. 29)
under the same title of Brown and Gold, and
reproduced in Léonce Bénédite, plate 1, while
a pen and ink drawing for it is shown in
Pennell, v. 11, p. 202.

There are several etched self-portraits. A very
early one (W. 1), one dated 1859 (W. 52) and the
Whistler with the White Lock (W. 142), the
frontispiece to Ralph Thomas’ Catalogue of

14

WHISTLER EXHIBITION, NUMBER IT

Etchings and Drypoints of Whistler is an
etching very similar to the McCullough portrait
and is dated 1874. A chalk drawing belonging
to Thomas Way is illustrated in Pennell, v. 1,
p. 136.

Oil on canvas; H. 274”, W. 2134”.

bk POR TRALT OF FR. GEY LAND

,0? LENT BY THE NATIONAL GALLERY OF ART
i (FREER COLLECTION)

Full length, life size figure, slightly turned to
the right, the face full front. His hair and full
pointed beard are brown; he wears black even-
ing dress with a white ruffled shirt; the right
hand rests on the hip and over the left arm he
carries a gray overcoat; a silver buckle shows
on the right shoe. Dark background and gray
floor.

Mr. Frederick Leyland was one of Whistler’s
early patrons, and between 1872 and 1874 he
painted portraits of both Mr. and Mrs. Leyland
and of their four children. Whistler made long
visits at Speke Hall, Leyland’s place near Liver-
pool, and the big canvases traveled with him,
back and forth between Speke Hall and London,
sittings being given in both places. Etchings
and dry-points that record these visits are:
Speke Hall (W. 86, dated 1870, and Sup. 269),
Speke Shore (W. 119), Shipping at Liverpool

5

THE METROPOLITAN MUSEUM OF ART

(W. 84) and The Dam Wood (W. 120). It was
for Mr. Leyland’s London house in Prince’s
Gate that the Peacock Room was decorated.
In this portrait Whistler for the first time sup-
pressed the background and put the figure into
the atmosphere in which it stood, without any
accessories; the problem was to make the figure
stand as far within the frame as the artist stood
from it when he painted it. Mr. Graves, one of
Whistler’s assistants, says of this portrait that
he “got into an awful mess” over the legs and
finally had a model to pose for it nude. An
etching (W. 93, inscribed Mr. Frederick Ley-
land) shows only the upper part of the body.
Mr. Leyland’s portrait was finished in the winter
of 1873 and was shown in Whistler’s Pall Mall
Exhibition of 1874. It was lent to the London
Memorial (No. 100) by Mrs. Val Prinsep, and is
illustrated in the London catalogue, p. 118. A
sketch for the portrait was lent to the London
Memorial (No. 97) by Charles Conder.

Oil on canvas; H. 74”, W. 35”.

iz NOCTURNE TN DEACK AWD
GOLD: THE FALLING ROCKET”

LENT BY MRS. SAMUEL UNTERMYER

A dark blue night scene with fireworks in a

park. In the foreground is a path with a grass

plat to the right; on the left a mass of foliage
16

WHISTLER EXHIBITION, NUMBER 12

and a crowd of people, felt rather than seen.
In the distance are two illuminated towers;
bursting skyrockets, drop showers of sparks.
Exhibited first at the Dudley Gallery in October,
1875, when it was scarcely noticed. It was next
seen with seven other paintings by Whistler at
the first exhibition of the Grosvenor Gallery,
which opened with a reception on April 30,
1877. This was the independent gallery or-
ganized by Sir Coutts Lindsay in opposition to
the Royal Academy in London, the “greenery-
yallery, Grosvenor Gallery” parodied by Gil-
bert and Sullivan. The critics praised Burne-
Jones, Millais, Leighton and others, but only
sneered at Whistler; the Atheneum referring to
this ‘‘whimsical, if capable, artist and his
vagaries.” Ruskin, in his Fors Clavigera of
July 2, 1877, wrote: “For Mr. Whistler’s own
sake, no less than for the protection of the pur-
chaser, Sir Coutts Lindsay ought not to have
admitted works into the gallery in which the
ill-educated conceit of the artist so nearly ap-
proaches the aspect of wilful imposture. I have
seen, and heard, much of cockney impudence
before now, but never expected to hear a cox-
comb ask two hundred guineas for flinging a
pot of paint in the public’s face.”

This led to the famous libel suit of Whistler v.
Ruskin, November 25 and 26, 1878, when the
jury awarded Whistler damages of one farthing,

17

THE METROPOLITAN MUSEUM OF ART

without costs. During the trial Whistler gave
the following definition of a Nocturne: “I have
perhaps meant rather to indicate an artistic in-
terest alone in the work, divesting the picture
from any outside sort of interest which might
have been otherwise attached to it. It is an
arrangement of line, form and color first, and |
make use of any incident which shall bring
about a symmetrical result. Among my works
are some night pieces; and I have chosen the
word ‘nocturne’ because it generalizes and
simplifies the whole set of them.” After Whis-
tler had stated that he worked about two days
on The Falling Rocket, the Attorney General
said: ‘‘The labor of two days, then, is that for
which you ask two hundred guineas?” to which
Whistler replied: ‘‘ No—I ask it for the knowl-
edge of a lifetime.”

Whistler recorded all the details of the trial in
a brown-covered pamphlet published by him in
December, 1878, under the title of Whistler v.
Ruskin: Art and Art Critics. This was included
in the later editions of his Gentle Art of Making
Enemies.

The picture was in the Goupil Exhibition of
1892 (No. 10) and the Memorial Exhibitions in
Boston (No. 84) and Paris (No. 66). An illus-
tration appears in Pennell, v. 1, p. 232.

Oil on panel; H. 233”, W. 172”.

18

WHISTLER EXHIBITION, NUMBER 13

3 ARRANGEMENT IN BLACK
AND BROWN: ROSA CORDER

LENT BY RICHARD A. CANFIELD

Full length, life size, standing figure with her
back toward the spectator, her body turned to
the right and her face seen in profile. Her light
brown hair is tightly coiled. She wears a black
dress and a black coat edged with fur, with
white showing at the neck and down the front.
The right hand, hanging at her side, holds a
brown felt hat with flowing brown feather.
The background is dark, almost black; the
floor is gray-brown.

Jacque Blanche, the painter, has said that
Whistler once saw Miss Rosa Corder in her
brown dress pass a door painted black and was
struck with the effect of color. The picture
was begun at 2 Lindsey Row, before 1876, as a
commission from Charles Augustus Howell,
Whistler’s man of affairs. It was sold at
Christie’s with Howell’s other effects in April,
1881, for £130. In 1902 Whistler saw to the
cleaning of this picture when it was purchased
by the present owner from Graham Robertson.
The picture was exhibited at the Grosvenor
Gallery in 1879; at the Salon des Artistes Fran-
¢ais in 1890; International Society of Sculptors,
Painters and Gravers in 1898 (No. 178), and in
the Memorial Exhibitions at Boston (No. 25)

"9

THE METROPOLITAN MUSEUM OF ART

and Paris (No. 21). An illustration appears in
Pennell, v. 1, p. 296.
Oil on canvas; H. 75”, W. 36”.

m4 PORTRAIT OF FLORENCE
LEYLAND

LENT BY THE BROOKLYN INSTITUTE OF ARTS
AND SCIENCES

Full length, life size, standing figure, seen full
face. She wears a gray dress with a black bow
where the fishu meets; white ruffles fall over
her black gloves and a handkerchief is held
in her right hand. Her round, black hat is
trimmed with gray. The background is almost
black, the floor slightly gray.

Whistler made a dry-point of Florence Leyland
(W. 96) in 1873, showing her in early girlhood
with a hoop in her hand; comparing that with
the apparent age of the subject of this portrait
it must have been painted about 1877. Flor-
ence Leyland, the youngest daughter of F. R.
Leyland (see No. 11 in this catalogue), was also
the original Blue Girl or Baby Leyland, a full
length three times attempted and once com-
pleted but destroyed by Whistler. Several
studies are known, a pen-and-ink sketch is
illustrated in Duret, p. 53.

After the death of Mr. Leyland in 1892, the
portrait became the property of Florence Ley-

20

yr

WHISTLER EXHIBITION, NUMBER I5

land, who had married Val Princep, the painter.
Her husband died in 1905 and it was purchased
the following year for the Brooklyn Institute
of Arts and Sciences.

Oil on canvas; H. 742”, W. 354”.

15 bee Ov ha. oS EP EVO NY 2
}°oTHREE GIRLS

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

Three women dressed in white are in a Japanese-
like garden, the blue sky showing between the
white wall and the white awning. In the cen-
ter, a kneeling figure wearing a red cap is
tending a pink-blossomed bush in a red pot
raised on a green trellis. The girl on the left,
leaning over, has a pink drapery and a purple
fan is in her hand. To the right standsa figure
wearing a red cap and holding a Japanese para-
sol over her right shoulder.

This is one of the Six Schemes or Projects, of
practically the same size, which were probably
the studies for a decoration for Mr. Leyland that
was never executed. William Michael Rosetti,
the writer, in his diary for July 28, 1867, noted:
“Whistler is doing on a largish scale, for Ley-
land, the subject of women with flowers.”

This picture was in the Memorial Exhibitions
at Boston (No. 19) and Paris (No. 11). A simi-

21

THE METROPOLITAN MUSEUM OF ART

lar composition called Three Figures, Pink and
Gray was lent by Alfred Chapman to the Lon-
don Memorial (No. 399). There are several
etchings and lithographs in which the separate
figures of the Projects may be found.

Oil on academy board; H. 173”, W. 234”.

146 NOCTURNE: BLUE AND SIL-
VER-—BATTERSEA REACH

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

A foggy evening on the Thames. In the fore-
ground, on the right, are boats with folded sails.
Through a blue-gray veil of mist that covers
river and sky, is seen the irregular line of docks
with points of light.

This picture was lent by W. G. Rawlinson to
the Goupil Gallery Exhibition in 1892; it was
in the Memorial Exhibitions at Boston (No.
63) and Paris (No. 70).

Oil on canvas; H. 194”, W. 29%”.

7 THE JAPANESE DRESS
LENT BY HOWARD MANSFIELD

The standing figure of a young woman, her

right hand crossing her body to hold over her

left shoulder a yellow Japanese parasol. Her

left hand grasps the kimono, which is flesh-
22

Co,

WHISTLER EXHIBITION, NUMBER 18

colored with a pattern in peacock-blue and is
lined with yellow. The skirt of gray-blue
with touches of light blue and bright rose,
is caught at the waist with a vermillion obi.
On her yellow hair is a flesh-colored cap with a
peacock-blue band and a touch of rose-color.
The butterfly monogram, shaded with peacock-
blue, is placed to the left of the figure on a line
slightly above the knees. Along the right-
hand edge, in pencil, and almost covered by the
pastel, is the inscription 2 Lindsey Houses,
Chelsea. Whistler moved to No. 2 Lindsey
Row, Chelsea, late in 1866 and the house was
sold in 1878.

It was in the Boston Memorial Exhibition
(No. 116).

Pastel on brown paper; H. 10”, W. 64”.

v8 ANNABEL LEE
t

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

A female figure standing near the sea with her
left hand on a railing and her back toward the
spectator. She is dressed in gauzy white held
with yellow bands; an iridescent blue and
green scarf floats from her arms and a purple
cap covers her light hair. Beyond is a wide
expanse of light blue sea and sky. In the fore-
ground, purple irises rise from the green lawn.

#3

THE METROPOLITAN MUSEUM OF ART

Butterfly monogram, shaded with purple, i
placed in the water to the left.

There is an oil painting of the same subject,
never exhibited. Whistler rarely gave literary
titles to his pictures, the only other one known
being the Effie Deans in the Rijks Museum at
Amsterdam.

This picture was lent by Thomas Way to the
London Memorial Exhibition (No. 63). An
illustration appears in Pennell, v. 11, p. 92.
Pastel on brown paper; H. 123”, W. 63”.

Oo TRE DOORWAY; VENTE
LENT BY RICHARD A. CANFIELD

A courtyard with two gaily dressed women at
awell. Through the doorway is seen a passage,
a canal and the houses on the other bank.
Above the doorway are three windows with
green shutters and railings; in two of the win-
dows women are leaning over the railing.
Butterfly monogram, shaded with brown, placed
to the right below the center.

Whistler’s only visit to Venice was from Sep-
tember, 1879 to November, 1880, and during
that time he executed many etchings and pas-
tels. His method was to draw with black
chalk on brown paper and then faintly suggest
with pastels the colors of the old walls, the
green shutters, the women’s bright dresses.

24

WHISTLER EXHIBITION, NUMBERS 20 AND 2I

The color was put in as with mosaics or stained
glass—usually a flat tint of pastel between the
black lines. In this way he had for years made
studies for his pictures.

These seven Venetian pastels were lent by Mr.
Canfield to the Paris Memorial Exhibition.
This one was No. 166.

Pastel on brown paper; H. 11”, W. 74”.

26 A. SGN Artie VE EEN IeC
LENT BY RICHARD A. CANFIELD

A narrow, winding canal with four moored gon-
dolas; in the distance a steep, single arch
bridge. Houses to the right and left with green
shutters reflected in the water. The same
canal from a slightly different point of view may
be seen in the etching, Quiet Canal (W. 184).
Butterfly monogram, shaded with brown, placed
at the left near the bottom.

This picture was in the Paris Memorial Exhi-
bition (No. 156).

Pastel on brown paper; H. 114”, W.5}’”.

ay Te FE eRe y ) Ve Oe
LENT BY RICHARD A. CANFIELD

A narrow canal with steps at the end; three

moored gondolas. To the right are houses with

green and red shutters; to the left a high wall
25

THE METROPOLITAN MUSEUM OF ART

with overhanging foliage. In the middle dis-
tance is a single arched bridge, and beyond, to
the left, a row of houses.

Butterfly monogram, shaded with brown, in
lower left corner.

This picture was in the Paris Memorial Exhi-
bition (No. 157).

Pastel on brown paper; H. 103”, W. 5”.

22h A SNS ABR Ne EN, 6G, Es
LENT BY RICHARD A. CANFIELD

A woman in a black shawl is seen in a narrow
street with high houses on each side. Beyond
are steps and several figures.

This picture was in the Paris Memorial Exhi-
bition (No. 161).

Pastel on brown paper; H. 104”, W. 34”.

23 Peer ERY Ve Nem
LENT BY RICHARD A. CANFIELD

A wide canal with three draped gondolas; to
the right a white church and its cemetery
with green trees. In the distance a line of
buildings silhouetted between sea and sky.
Butterfly monogram, in outline, in lower left
corner.

This picture was in the Paris Memorial Exhi-

26

WHISTLER EXHIBITION, NUMBERS 24 AND 25

bition (No. 155). An illustration appears in
Cary, p. 108.
Pastel on brown paper; H. 64”, W. 102”.

24 NOCTURNE, VENICE
LENT BY RICHARD A. CANFIELD

In the foreground a line of boats; lights gleam
on the distant shore and are reflected in the
water.

Butterfly monogram, shaded, placed to the
right near the bottom.

This picture was in the Paris Memorial Exhi-
bition (No. 154).

Pastel on brown paper; H. 74”, W. 1032”.

2, LONG VENICE
LENT BY RICHARD A. CANFIELD

View of Venice seen from the lagoon; vessels
at anchor; deep blue water reflecting several
campaniles. A similar composition appears in
the etching, Little Venice (W. 149), which was
one of the Venice set published by the Fine Art
Society, London, 1880.
Butterfly monogram, in outline, on lower edge
to the right of the center.
This picture was in the Paris Memorial Exhi-
bition (No. 152).
Pastel on brown paper; H. 44”, W. 103”.

27

THE METROPOLITAN MUSEUM OF ART

6 “ATOR WA YO VE NTO

LENT BY HOWARD MANSFIELD
A red and orange wall broken by an archway,
within which a child is leaning against the left
wall; another figure stands in the center of the
archway. A woman, wearing an orange shawl,
stands in the open court seen through the arch-
way; beyond her, on the right, is a green shutter
and on the left a door with a glass fan-light.
This picture was in the Boston Memorial Exhi-
bition (No. 127). |
Pastel on brown paper; H. 114”, W. 74”.

a7 oT ELE Solo our «MORN Coe

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

The blue sea is dotted with white sails and a

large brown one is seen to the right; the Isles

are silhouetted against a light sky.

Butterfly monogram, shaded in violet, in lower

right corner.

Pastel on brown paper; H. 31”, W. 102”.

38. VEINS. AST ARTE

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)
A nude standing figure, seen full front, who
holds back a green veil. There is a rose-colored
band in her brown hair.

28

WHISTLER EXHIBITION, NUMBER 29

Butterfly monogram, shaded with rose, placed
to the right.

This picture was in the Paris Memorial Exhi-
bition (No. 132). |

Pastel on brown paper; H. 103”, W. 63”.

29) ARRANGEMENT tT Ne BLACK. ;
PORTRAIT OF SENOR PABLO DE
SARASARTE

LENT BY THE CARNEGIE INSTITUTE, PITTSBURG

A full length, almost life size, standing portrait
of the musician. He is in evening dress and
holds his violin and bow in the act of tuning.
The background is dark gray, almost black, and
the floor is a lighter gray.

Butterfly monogram, in gray silhouette on the
darker ground, is placed to the right about
halfway up. Original frame designed and
decorated by Whistler; his butterfly monogram
is placed on the right-hand side.

This portrait was seen in the studio at 13 Tite
Street, Chelsea, by Joseph Pennell when, in
1884, he visited Whistler for the first time. He
says that ‘““what Whistler was trying to do was
to paint the man on the shadowy concert plat-
form as the audience saw him. Sarasarte is
intended to look small, less than life-size, as he
would appear when seen away up on the con-
cert stage.”” Whistler in speaking of this por-

-~

THE METROPOLITAN MUSEUM OF ART

trait to Sidney Starr referred to its being’ “All
balanced by the bow.”

It was exhibited for the first time at the Society
of British Artists in 1885; was in the Paris Salon
in 1891, and in the 1897 exhibition of the
Carnegie Institute, Pittsburg, having been pur-
chased in 1896. It was shown in the Memor-
ial Exhibitions in Boston (No. 53), London (No.
19), and Paris (No. 20). An illustration of this
portrait and also of a pen-and-ink sketch for it
appear in Pennell, v. 11, p. 4.

Oil on canvas; H. 84”, W. 40”.

30 GRAY AND SIEVER? tHe
THAMES

LENT BY ROSALIND BERNIE PHILIP

A view, from the embankment in the fore-
ground, of the quiet river reflecting a few small
boats and the warehouses and tall chimneys on
the opposite shore. There is a silvery gray sky.
Oil on canvas; H. 233”, W. 1732”.

ar SY MPHONY IN VIOLET AND
fe Oa i

LENT BY ALFRED ATMORE POPE

Rolling sea with white-capped waves and three °

sailboats on the horizon. Blue sky with
broken storm clouds.

30

WHISTLER EXHIBITION, NUMBER 32

Butterfly monogram, a dark silhouette, on the
water near the left corner.

This picture was in the Salon of 1894 although
not catalogued. It was shown in the Boston
Memorial Exhibition (No. 30).

Oil on canvas; H. 193”, W. 28”.

32 ARRANGEMENT IN BLACK
AND GOLD: LE COMTE ROBERT

LENT BY RICHARD A. CANFIELD

Full length, life size, standing figure turned to
the right with his face almost full front. He
wears a black dress suit; a dark gray overcoat
lined with silvery gray is thrown over his left
arm; in his gloved hand he holds a slender
brown cane. The background is dark, almost
black; the floor a golden brown.

Butterfly monogram, in brown silhouette against
darker background, is placed to the left half-
way up.

This portrait of Count Robert de Montesquiou-
Fezensac was painted in 1890 and 1891; there
was a second one, never finished. Edmond de
Goncourt in his journal for July 7, 1891, wrote:
““Montesquiou tells me that Whistler is now
doing two portraits of him: one is in evening
dress with a fur coat under his arm, the other
in a great gray cloak, with high collar at his
neck just suggested, a necktie of a mauve not

31

THE METROPOLITAN MUSEUM OF ART

to be put into words, though his eyes express
the ideal color of it.”

Whistler undertook to make a lithograph of
the Comte Robert but failed, saying that “it
was impossible to produce the same master-
piece twice over—as difficult as for a hen to lay
the same egg twice.”

The present owner purchased this portrait from
the Comte de Montesquiou early in 1903. It
was shown in the Boston Memorial Exhibition
(No. 39). An illustration appears in Duret,
Pp. 174-

Oil on canvas; H. 814”, W. 33”.

3 LAN DA LUSLE NN 2 eo toe
OF PEARLAND SILVER

LENT BY JOHN H. WHITTEMORE

A full length, life size, standing figure, her back
toward the spectator, the body half turned to
the right and the face in profile. Her left hand
rests on her hip; the right hangs at her side and
lightly holds her dress. Her hair is almost
black and is dressed in a tight knot. She wears
a dress of black net over gray with transparent
yoke and full elbow sleeves. The background
is lilac-gray, the wall being much lighter than
the floor.

Butterfly monogram, a large dark silhouette,
placed to the right near the center.

32

WHISTLER EXHIBITION, NUMBER 34

This is one of several portraits of Miss Ethel
Bernie Philip, a sister of Whistler’s wife, who in
1895 married Charles Whibley, the writer. The
picture was in progress in the Paris studio at
110 Rue du Bac, in 1894. An etched portrait
of Mrs. Whibley is listed in the Mansfield Cata-
logue, No. 438.

It was shown in the American section at the
Paris Exposition of 1900, and was in the Me-
morial Exhibitions in Boston (No. 46) and
Paris (No. 25). In Léonce Bénédite’s plates
from the Paris Memorial Exhibition it is No.
XK.

Oil on canvas; H. 744”, W. 34”.

34 A STUDY IN RED

a, LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

The figure of a girl in transparent red drapery
and wearing a red cap.
Butterfly monogram, shaded in red, placed to
the right.
Pastel on brown paper; H. 104”, W. 53”.

33

THE METROPOLITAN MUSEUM OF ART

a; BLUE AND ROSE: THE OFEN
FAN

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

The figure of a young girl in a rose-colored dress
walking toward the left. A blue cap is on her
head; in her right hand she holds an open white
and blue fan and her left hand is raised to her
shoulder. To the right is a pink shrub in a
blue vase.

Butterfly monogram, shaded in dark blue, is
placed to the left.

Pastel on brown paper; H. 10%”, W. 63”.

36 ROSE AND RED: THE4GITTLE
PINK CAP

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

A woman standing, full face, her rose and red
robe thrown back disclosing the body. In her
arms she holds a child wearing a pink cap. A
few lines in the background convey the im-
pression of sea and beach.

Butterfly monogram, shaded in red, placed to
the right.

This picture was shown at the New English
Art Club, London, in 1889, and it was in the

34

WHISTLER EXHIBITION, NUMBERS 37 AND 38

Memorial Exhibitions at Boston (No. 130) and
Paris (No. 144).
Pastel on brown paper; H. 104”, W. 62”.

a7) THE MASTER SothDH OF
XN AE Gels

LENT BY THE MUSEUM OF FINE ARTS, BOSTON

The half length of a man with folded arms; the
head and figure turned three-quarters to the
right. He has very dark hair and mustache
and wears a dark gray overcoat and a light gray
shirt. The background is dark brown.
Butterfly monogram, a dark silhouette, at cen-
ter of right hand edge.

Whistler was at Lyme Regis, England, during
the autumn of 1895. This picture was shown
in the Memorial Exhibitions in Boston (No.
36), London (No. 24) and Paris (No. 27). An
illustration appears in Pennell, v. 11, p. 170.
Oil on canvas; H. 192”, W. 114”.

oy nts LATE RG oF
Bw REGIS

LENT BY THE MUSEUM OF FINE ARTS, BOSTON

The half length portrait of a little girl, seen full
face; her hands crossed in her lap. She has

35

THE METROPOLITAN MUSEUM OF ART

chestnut hair and wears a black dress and a red
pinafore. The background is violet-brown.

It was painted during the same season as the
Master Smith. Included in the Memorial Ex-
hibitions in Boston (No. 43), London (No. 26)
and Paris (No. 42). An illustration appears in
Pennell, v. 11, p. 166.

Oil on canvas; H. 194”, W. 114”.

% BLUE. AND. CORAL: tae
ett tebe “Bw ES IBeO NON JESSE

DENT BY HERBERT (25 (RRAEE

The half length of a young girl, seated, her body
turned three-quarters to the left and the face
full front. She has chestnut hair and brown
eyes that look straight at the spectator. Her
gray-green dress is trimmed with peacock-blue;
she wears a bonnet to match and a tulle bow at
her throat.

Butterfly monogram, a coral-red silhouette, to
the left.

The picture was in the Exhibition of the Inter-
national Society of Sculptors, Painters and
Gravers in London in 1896 (No. 182) and in the
London Memorial Exhibition (No. 8). An
illustration appears in Pennell, v. 1, p. 220.
Oil on canvas; H. 224”, W. 17” (oval).

36

0

A

WHISTLER EXHIBITION, NUMBERS 40 AND 4I

/
_240 VERT ET OR: EE RACONTEUR
4%)
se
5s

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

Half length figure of a young boy seen full
front, his left hand raised. He has brown eyes
and thick brown hair; the black coat with brown
lapel is open and shows a brown vest and white
shirt. The background is dark olive.

Oil on canvas; H. 192”, W. 11”.

a RO. AND GOLD: tae Larrioee
LADY SOPHIE OF SOHO

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

0
‘A half length portrait of a young girl, seated,

with face and figure turned three-quarters to
the left and her hands folded across her lap.
Her eyes are dark gray and her dark brown
hair hangs about her shoulders; she wears a
black dress. The background is pinkish-gray.
Butterfly monogram, in dark silhouette, to the
left of the figure.

This picture was included in the Memorial Ex-
hibitions at Boston (No. 83) and Paris (No. 37).
An illustration appears in Pennell, v. 11, p. 208.
Oil on canvas; H. 25”, W. 20?” (oval).

a7

THE METROPOLITAN MUSEUM OF ART

42 POUTING TOM
LENT BY H. H. BENEDICT

The half length of a young girl, the face and
figure seen full front. She wears a black dress
with a white frill at the throat; a close-fitting
black cap rests on her light brown hair, which
falls to her shoulders and is cut low across her
forehead. The background is dark olive.

Oil on canvas; H. 19%”, W. 12”.

43 GL ET PLE eRe Wy CAP

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)

Half length of a little girl, seated, the figure
turned three-quarters to the right and the face
almost full front. A yellow-green cap rests on
her auburn hair. The background is olive-
green.
Butterfly monogram, a dark silhouette, on the
right near the edge.
Oil on canvas; H. 20”, W. 12”,

aa THE LATTLE FAUSTINA

LENT BY THE NATIONAL GALLERY OF ART
(FREER COLLECTION)
Half length of a little girl seen full front, her
hands folded in her lap. Her eyes are brown
and her brown hair, parted in the middle, falls
38

WHISTLER EXHIBITION, NUMBERS 45 AND 46

about her shoulders. She wears a dark dress
cut low at the neck, disclosing a string of beads.
The background is dark olive-gray.

The picture was at the Paris Memorial Exhi-
bition (No. 43).

Oil on canvas; H. 193”, W. 113”.

45 LA NAPOLITAINE: ROSE ET OR
LENT BY RICHARD A. CANFIELD

A bust portrait, full face, of a dark haired, dark
eyed woman. She wears a rose colored dress
with dark trimming around a V-shaped opening
at the throat, which shows a single row of coral
beads. Dark olive background.

Butterfly monogram, scarcely more than a dark
shadow, near the center of right-hand edge.
The model for this was probably Mme. Carmen
Rossi, who, as a child, had posed for Whistler.
She lived in Naples for some years and then re-
turned to Paris and in 1898 opened an art
school at which Whistler. gave criticisms.

Oil on canvas; H. 193”, W. 113”.

46 GRAY AND SILVER: LA PETITE
SOURIS

LENT BY ROSALIND BERNIE PHILIP
The bust portrait of a young woman seen almost
fullface. She wears a dark gray dress and about
2

THE METROPOLITAN MUSEUM OF ART

her neck is a gray feather boa held by her right
hand.

Butterfly monogram, a dark silhouette, is
placed on the dress at the left.

This picture was shown in the Memorial Ex-
hibitions in Boston (No. 27) and Paris (No. 51).
Oil on canvas; H. 194”, W. 113”.

40

PN DEX

Andalusienne, L’ (Mother of Pearl and
Silver)

Annabel Lee .

Archway, Venice .

Arrangement in Black and Brown: Rosa
Corder

Arrangement in Black and Gold: Le
Comte Robert ..

Arrangement in Black: Portrait of Senor
Pablo Sarasarte

Battersea Reach (Nocturne: Pine, ana
Silver)

Blue and Coral: The Little Blue Bonnet

Blue and Rose: The Open Fan...

Blue and Silver: The Blue Wave, Biattitz

Bognor (Nocturne: Blue and Silver)

Canal, A, Venice .

Cemetery, The, Venice

Comte Robert de Montesquiou- -Fezensac
(Arrangement in Black and Gold)

Corder, Rosa (Arrangement in Black and
Brown)

Doorway, The, Venice

4l

INDEX

Falling Rocket, The (Nocturne in Black
and Gold) L | ;

Ferry, The, Venice.

Gray and Silver: The Thames

Gray and Silver: La Petite Souris .

Golden Screen, The (Harmony in Purple
and Gold, II)

Harmony in Green and Rose: The Music
Room +),

Harmony in Purple and Gold, I: The
Golden Screen » iM

Isles of Venice, The

Japanese Dress, The aT ae ae

Lange Leizen—of the Six Marks: Purple
and Rose. tn oe FF

Leyland, F. R., Portrait of

Leyland, Florence, Portrait of .

Little Blue Bonnet, The (Blue and Coral

Little Faustina, The

Little Green Cap

Little Lady Sophie of Soho, The (Rose and
Gold)... é

Little Pink Cap, The (Regs andl Red)

Little Rose of Lyme Regis, The

Little White Girl, The si aged in
White, II) .

kong Vendée . .

Master Smith of Lyme Regis, The

Music Room, The (Harmony in Green and
Rose) .

42

INDEX

Napolitaine, La (Rose et Or)

Nocturne: Blue and Silver—Battersea
Reach a eo. ee

Nocturne: Blue and Silver-—Bognor

Nocturne in Black and Gold: Falling
POCKET he aie Ess lee elem Ss

Nocturne: Blue and fasgttl aait

Nocturne: Venice...

Ocean, The (Symphony in Gray and
Green) : .

Open Fan, The (Blue aiid Resi

Petite Souris, La (Gray and Silver) .

Pouting Tom

Purple and Rose (The Lange Leizen of
the Six Marks)

Raconteur, Le (Vert et Or)

Rose and Red: The Little Pink Cap '

Rose and Gold: The Little ee aia
of Soho.

Rose et Or (La Napolitaine)

Sarasarte (Arrangement in Black)

Street; A, Venice: .

Study in Red; A. ~.

Symphony in Gray and Green: The
Ocean . ae

Symphony in Violet and Blue a

Symphony in White, I: The White
Cit. = ebay as §,

Symphony in White, it. Phe Exttle
White Girl ee

43

INDEX

Thames, The (Gray and Silver) .
Three Girls (The White Symphony)
Valparaiso (Nocturne: Blue and Gold)
Venice, Archway . Pony
Venice, A Canal

Venice, The Cemetery .

Venice, The Doorway .

Venice, The Ferry

Venice, The Isles of

Venice, Long

Venice (Nocturne)

Venice, A Street .

Venus Astarte toe

Vert epOr® Ke-Racemtent;s.) 4
Whistler, A Portrait Sketch of Mr. .

Frontispiece

White Girl (Symphony in White, I)
White Symphony, The: Three Girls .

Tele pe metie 3

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ris ts i epiy
Se ha tea ae

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Sieg tata a

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